Chapter 27

Still not here was his "farthest," as the geographers say, nor in the considerable mass of smaller poems which practically defy classification. In them, as so often elsewhere in Praed, one comes across odd notes, stray flashes of genius which he never seems to have cared to combine or follow out, such as the unwontedly solemn "Time's Song," the best wholly serious thing that he has done, and the charming "L'Inconnue." But we find the perfect Praed, and we find him only, in the verses of society proper, the second part of the "Poems of Life and Manners" as they are headed, which began, as far as one can make out, to be written about 1826, and the gift of which Praed never lost, though he practised it little in the very last years of his life. Here, in a hundred pages, with a few to be added from elsewhere, are to be found some of the best-bred and best-natured verse within the English language, some of the most original and remarkable metrical experiments, a profusion of the liveliest fancy, a rush of the gayest rhyme. They begin with "The Vicar," _vir nullâ non donandus lauru_.

[Whose] talk was like a stream, which runs With rapid change from rocks to roses: It slipped from politics to puns, It passed from Mahomet to Moses; Beginning with the laws which keep The planets in their radiant courses, And ending with some precept deep For dressing eels, or shoeing horses.

Three of the Vicar's companion "Everyday Characters" are good, but I think not so good as he; the fifth piece, however, "The Portrait of a Lady," is quite his equal.

You'll be forgotten--as old debts By persons who are used to borrow; Forgotten--as the sun that sets, When shines a new one on the morrow; Forgotten--like the luscious peach That blessed the schoolboy last September; Forgotten--like a maiden speech, Which all men praise, but none remember.

Yet ere you sink into the stream That whelms alike sage, saint, and martyr, And soldier's sword, and minstrel's theme, And Canning's wit, and Gatton's charter, Here, of the fortunes of your youth, My fancy weaves her dim conjectures, Which have, perhaps, as much of truth As passion's vows, or Cobbett's lectures.

Here, and perhaps here first, at least in the order of the published poems, appears that curious mixture of pathos and quizzing, sentiment and satire, which has never been mastered more fully or communicated more happily than by Praed. But not even yet do we meet with it in its happiest form: nor is that form to be found in "Josephine" which is much better in substance than in manner, or in the half-social, half-political patter of "The Brazen Head," or in "Twenty-eight and Twenty-nine." It sounds first in the "Song for the Fourteenth of February." No one, so far as I know, has traced any exact original[20] for the altogether admirable metre which, improved and glorified later in "The Letter of Advice," appears first in lighter matter still like this:

Shall I kneel to a Sylvia or Celia, Whom no one e'er saw, or may see, A fancy-drawn Laura Amelia, An _ad libit_ Anna Marie? Shall I court an initial with stars to it, Go mad for a G. or a J., Get Bishop to put a few bars to it, And print it on Valentine's Day?

But every competent critic has seen in it the origin of the more gorgeous and full-mouthed, if not more accomplished and dexterous, rhythm in which Mr. Swinburne has written "Dolores," and the even more masterly dedication of the first "Poems and Ballads." The shortening of the last line which the later poet has introduced is a touch of genius, but not perhaps greater than Praed's own recognition of the extraordinarily vivid and ringing qualities of the stanza. I profoundly believe that metrical quality is, other things being tolerably equal, the great secret of the enduring attraction of verse: and nowhere, not in the greatest lyrics, is that quality more unmistakable than in the "Letter of Advice." I really do not know how many times I have read it; but I never can read it to this day without being forced to read it out loud like a schoolboy and mark with accompaniment of hand-beat such lines as

Remember the thrilling romances We read on the bank in the glen: Remember the suitors our fancies Would picture for both of us then. They wore the red cross on their shoulder, They had vanquished and pardoned their foe-- Sweet friend, are you wiser or colder? My own Araminta, say "No!"

· · · · ·

He must walk--like a god of old story Come down from the home of his rest; He must smile--like the sun in his glory, On the buds he loves ever the best; And oh! from its ivory portal Like music his soft speech must flow! If he speak, smile, or walk like a mortal, My own Araminta, say "No!"

There are, metrically speaking, few finer couplets in English than the first of that second stanza. Looked at from another point of view, the mixture of the comic and the serious in the piece is remarkable enough; but not so remarkable, I think, as its extraordinary metrical accomplishment. There is not a note or a syllable wrong in the whole thing, but every sound and every cadence comes exactly where it ought to come, so as to be, in a delightful phrase of Southey's, "necessary and voluptuous and right."

It is no wonder that when Praed had discovered such a medium he should have worked it freely. But he never impressed on it such a combination of majesty and grace as in this letter of Medora Trevilian. As far as the metre goes I think the eight-lined stanzas of this piece better suited to it than the twelve-lined ones of "Good Night to the Season" and the first "Letter from Teignmouth," but both are very delightful. Perhaps the first is the best known of all Praed's poems, and certainly some things in it, such as

The ice of her ladyship's manners, The ice of his lordship's champagne,

are among the most quoted. But this antithetical trick, of which Praed was so fond, is repeated a little often in it; and it seems to me to lack the freshness as well as the fire of the "Advice." On the other hand, the "Letter from Teignmouth" is the best thing that even Praed has ever done for combined grace and tenderness.

You once could be pleased with our ballads-- To-day you have critical ears; You once could be charmed with our salads-- Alas! you've been dining with Peers; You trifled and flirted with many-- You've forgotten the when and the how; There was one you liked better than any-- Perhaps you've forgotten her now. But of those you remember most newly, Of those who delight or enthral, None love you a quarter so truly As some you will find at our Ball.

They tell me you've many who flatter, Because of your wit and your song: They tell me--and what does it matter?-- You like to be praised by the throng: They tell me you're shadowed with laurel: They tell me you're loved by a Blue: They tell me you're sadly immoral-- Dear Clarence, that cannot be true! But to me, you are still what I found you, Before you grew clever and tall; And you'll think of the spell that once bound you; And you'll come--won't you come?--to our Ball!

Is not that perfectly charming?

It is perhaps a matter of mere taste whether it is or is not more charming than pieces like "School and Schoolfellows" (the best of Praed's purely Eton poems) and "Marriage Chimes," in which, if not Eton, the Etonian set also comes in. If I like these latter pieces less, it is not so much because of their more personal and less universal subjects as because their style is much less individual. The resemblance to Hood cannot be missed, and though I believe there is some dispute as to which of the two poets actually hit upon the particular style first, there can be little doubt that Hood attained to the greater excellence in it. The real sense and savingness of that doctrine of the "principal and most excellent things," which has sometimes been preached rather corruptly and narrowly, is that the best things that a man does are those that he does best. Now though

I wondered what they meant by stock, I wrote delightful Sapphics,

and

With no hard work but Bovney stream, No chill except Long Morning,

are very nice things, I do not think they are so good in their kind as the other things that I have quoted; and this, though the poem contains the following wholly delightful stanza in the style of the "Ode on a Distant Prospect of Clapham Academy":

Tom Mill was used to blacken eyes Without the fear of sessions; Charles Medlar loathed false quantities As much as false professions; Now Mill keeps order in the land, A magistrate pedantic; And Medlar's feet repose unscanned Beneath the wide Atlantic.

The same may even be said of "Utopia," a much-praised, often-quoted, and certainly very amusing poem, of "I'm not a Lover now," and of others, which are also, though less exactly, in Hood's manner. To attempt to distinguish between that manner and the manner which is Praed's own is a rather perilous attempt; and the people who hate all attempts at reducing criticism to principle, and who think that a critic should only say clever things about his subject, will of course dislike me for it. But that I cannot help. I should say then that Hood had the advantage of Praed in purely serious poetry; for Araminta's bard never did anything at all approaching "The Plea of the Midsummer Fairies," "The Haunted House," or a score of other things. He had also the advantage in pure broad humour. But where Praed excelled was in the mixed style, not of sharp contrast as in Hood's "Lay of the Desert Born" and "Demon Ship," where from real pity and real terror the reader suddenly stumbles into pure burlesque, but of wholly blended and tempered humour and pathos. It is this mixed style in which I think his note is to be found as it is to be found in no other poet, and as it could hardly be found in any but one with Praed's peculiar talent and temper combined with his peculiar advantages of education, fortune, and social atmosphere. He never had to "pump out sheets of fun" on a sick-bed for the printer's devil, like his less well-fated but assuredly not less well-gifted rival; and as his scholarship was exactly of the kind to refine, temper, and adjust his literary manner, so his society and circumstances were exactly of the kind to repress, or at least not to encourage, exuberance or boisterousness in his literary matter. There are I believe who call him trivial, even frivolous; and if this be done sincerely by any careful readers of "The Red Fisherman" and the "Letter of Advice" I fear I must peremptorily disable their judgment. But this appearance of levity is in great part due exactly to the perfect modulation and adjustment of his various notes. He never shrieks or guffaws: there is no horse-play in him, just as there is no tearing a passion to tatters. His slight mannerisms, more than once referred to, rarely exceed what is justified by good literary manners. His points are very often so delicate, so little insisted on or underlined, that a careless reader may miss them altogether; his "questionings" are so little "obstinate" that a careless reader may think them empty.

Will it come with a rose or a brier? Will it come with a blessing or curse? Will its bonnets be lower or higher? Will its morals be better or worse?

The author of this perhaps seems to some a mere jesting Pilate, and if he does, they are quite right not to even try to like him.

I have seen disdainful remarks on those critics who, however warily, admire a considerable number of authors, as though they were coarse and omnivorous persons, unfit to rank with the delicates who can only relish one or two things in literature. But this is a foolish mistake. "One to one" is not "cursedly confined" in the relation of book and reader; and a man need not be a Don Juan of letters to have a list of almost _mille e tre_ loves in that department. He must indeed love the best or those among the best only, in the almost innumerable kinds, which is not a very severe restriction. And Praed is of this so fortunately numerous company. I do not agree with those who lament his early death on the ground of its depriving literature or politics of his future greatness. In politics he would most probably not have become anything greater than an industrious and respectable official; and in letters his best work was pretty certainly done. For it was a work that could only be done in youth. In his scholarly but not frigidly correct form, in his irregular sallies and flashes of a genius really individual as far as it went but never perhaps likely to go much farther, in the freshness of his imitations, in the imperfection of his originalities, Praed was the most perfect representative we have had or ever are likely to have of what has been called, with a perhaps reprehensible parody on great words, "the eternal undergraduate within us, who rejoices before life." He is thus at the very antipodes of Wertherism and Byronism, a light but gallant champion of cheerfulness and the joy of living. Although there is about him absolutely nothing artificial--the curse of the lighter poetry as a rule--and though he attains to deep pathos now and then, and once or twice (notably in "The Red Fisherman") to a kind of grim earnestness, neither of these things is his real _forte_. Playing with literature and with life, not frivolously or without heart, but with no very deep cares and no very passionate feeling, is Praed's attitude whenever he is at his best. And he does not play at playing as many writers do: it is all perfectly genuine. Even Prior has not excelled such lines as these in one of his early and by no means his best poems (an adaptation too), for mingled jest and earnest--

But Isabel, by accident, Was wandering by that minute; She opened that dark monument And found her slave within it; _The clergy said the Mass in vain, The College could not save me: But life, she swears, returned again With the first kiss she gave me._

Hardly, if at all, could he have kept up this attitude towards life after he had come to forty year; and he might have become either a merely intelligent and respectable person, which is most probable, or an elderly youth, which is of all things most detestable, or a caterwauler, or a cynic, or a preacher. From all these fates the gods mercifully saved him, and he abides with us (the presentation being but slightly marred by the injudicious prodigality of his editors) only as the poet of Medora's musical despair lest Araminta should derogate, of the Abbot's nightmare sufferings at the hands of the Red Fisherman, of the plaintive appeal after much lively gossip--

And you'll come--won't you come?--to our Ball,

of all the pleasures, and the jests, and the tastes, and the studies, and the woes, provided only they are healthy and manly, of Twenty-five. Unhappy is the person of whom it can be said that he neither has been, is, nor ever will be in the temper and circumstances of which Praed's verse is the exact and consummate expression; not much less unhappy he for whom that verse does not perform the best perhaps of all the offices of literature, and call up, it may be in happier guise than that in which they once really existed, the many beloved shadows of the past.

FOOTNOTES:

[19] 1. _The Poems of Winthrop Mackworth Praed, with a Memoir by the Rev. Derwent Coleridge._ In two volumes. London, 1864. 2. _Essays by Winthrop Mackworth Praed, collected and arranged by Sir George Young, Bart._ London, 1887. 3. _The Political and Occasional Poems of Winthrop Mackworth Praed, edited, with Notes, by Sir George Young._ London, 1888.

[20] Since I wrote this I have been reminded by my friend Mr. Mowbray Morris of Byron's

I enter thy garden of roses, Beloved and fair Haidee.

It is not impossible that this _is_ the immediate original. But Praed has so improved on it as to deserve a new patent.

XIII

GEORGE BORROW

In this paper I do not undertake to throw any new light on the little-known life of the author of _Lavengro_. Among the few people who knew Borrow intimately, surely some one will soon be found who will give to the world an account of his curious life, and perhaps some specimens of those "mountains of manuscript" which, as he regretfully declares, never could find a publisher--an impossibility which, if I may be permitted to offer an opinion, does not reflect any great credit on publishers. For the present purpose it is sufficient to sum up the generally-known facts that Borrow was born in 1803 at East Dereham in Norfolk, his father being a captain in the army, who came of Cornish blood, his mother a lady of Norfolk birth and Huguenot extraction. His youth he has himself described in a fashion which nobody is likely to care to paraphrase. After the years of travel chronicled in _Lavengro_, he seems to have found scope for his philological and adventurous tendencies in the rather unlikely service of the Bible Society; and he sojourned in Russia and Spain to the great advantage of English literature. This occupied him during the greater part of the years from 1830 to 1840. Then he came back to his native country--or, at any rate, his native district--married a widow of some property at Lowestoft, and spent the last forty years of his life at Oulton Hall, near the piece of water which is thronged in summer by all manner of sportsmen and others. He died but a few years ago; and even since his death he seems to have lacked the due meed of praise which the Lord Chief Justice of the equal foot usually brings, even to persons far less deserving than Borrow.

There is this difficulty in writing about him, that the audience must necessarily consist of fervent devotees on the one hand, and of complete infidels, or at least complete know-nothings, on the other. To any one who, having the faculty to understand either, has read _Lavengro_ or _The Bible in Spain_, or even _Wild Wales_, praise bestowed on Borrow is apt to seem impertinence. To anybody else (and unfortunately the anybody else is in a large majority) praise bestowed on Borrow is apt to look like that very dubious kind of praise which is bestowed on somebody of whom no one but the praiser has ever heard. I cannot think of any single writer (Peacock himself is not an exception) who is in quite parallel case. And, as usual, there is a certain excuse for the general public. Borrow kept himself, during not the least exciting period of English history, quite aloof from English politics, and from the life of great English cities. But he did more than this. He is the only really considerable writer of his time in any modern European nation who seems to have taken absolutely no interest in current events, literary and other. Putting a very few allusions aside, he might have belonged to almost any period. His political idiosyncrasy will be noticed presently; but he, who lived through the whole period from Waterloo to Maiwand, has not, as far as I remember, mentioned a single English writer later than Scott and Byron. He saw the rise, and, in some instances, the death, of Tennyson, Thackeray, Macaulay, Carlyle, Dickens. There is not a reference to any one of them in his works. He saw political changes such as no man for two centuries had seen, and (except the Corn Laws, to which he has some half-ironical allusions, and the Ecclesiastical Titles Bill, which stirred his one active sentiment) he has referred to never a one. He seems in some singular fashion to have stood outside of all these things. His Spanish travels are dated for us by references to Doña Isabel and Don Carlos, to Mr. Villiers and Lord Palmerston. But cut these dates out, and they might be travels of the last century. His Welsh book proclaims itself as written in the full course of the Crimean War; but excise a few passages which bear directly on that event, and the most ingenious critic would be puzzled to "place" the composition. Shakespeare, we know, was for all time, not of one age only; but I think we may say of Borrow, without too severely or conceitedly marking the difference, that he was not of or for any particular age or time at all. If the celebrated query in Longfellow's _Hyperion_, "What is time?" had been addressed to him, his most appropriate answer, and one which he was quite capable of giving, would have been, "I really don't know."

To this singular historical vagueness has to be added a critical vagueness even greater. I am sorry that I am unable to confirm or to gainsay at first hand Borrow's wonderfully high estimate of certain Welsh poets. But if the originals are anything like his translations of them, I do not think that Ab Gwilym and Lewis Glyn Cothi, Gronwy Owen and Huw Morris can have been quite such mighty bards as he makes out. Fortunately, however, a better test presents itself. In one book of his, _Wild Wales_, there are two estimates of Scott's works. Borrow finds in an inn a copy of _Woodstock_ (which he calls by its less known title of _The Cavalier_), and decides that it is "trashy": chiefly, it would appear, because the portrait therein contained of Harrison, for whom Borrow seems, on one of his inscrutable principles of prejudice, to have had a liking, is not wholly favourable. He afterwards informs us that Scott's "Norman Horseshoe" (no very exquisite song at the best, and among Scott's somewhat less than exquisite) is "one of the most stirring lyrics of modern times," and that he sang it for a whole evening; evidently because it recounts a defeat of the Normans, whom Borrow, as he elsewhere tells us in sundry places, disliked for reasons more or less similar to those which made him like Harrison, the butcher. In other words, he could not judge a work of literature as literature at all. If it expressed sentiments with which he agreed, or called up associations which were pleasant to him, good luck to it; if it expressed sentiments with which he did not agree, and called up no pleasant associations, bad luck.